"The Times They Are a-Changin'" | ||||
---|---|---|---|---|
Single by Bob Dylan | ||||
from the album The Times They Are a-Changin' | ||||
B-side | "Honey, Just Allow Me One More Chance" | |||
Released | March 8, 1965 | |||
Recorded | October 24, 1963 | |||
Studio | Columbia Recording, New York City | |||
Genre | Folk | |||
Length | 3:15 | |||
Label | Columbia | |||
Songwriter(s) | Bob Dylan | |||
Producer(s) | Tom Wilson | |||
Bob Dylan singles chronology | ||||
|
"The Times They Are a-Changin'" is a song written by Bob Dylan and released as the title track of his 1964 album of the same name. Dylan wrote the song as a deliberate attempt to create an anthem of change for the time, influenced by Irish and Scottish ballads. Released as a 45-rpm single in Britain in 1965, it reached number 9 on the UK Singles Chart. [1] The song was not released as a single in the US. [2] In 2019 it was certified Silver by BPI. [3]
Ever since its release, the song has been influential to people's views on society, with critics noting the universal lyrics as contributing to the song's lasting message of change. According to Dylan's official website, between 1963 and 2009 he performed the song 633 times, which makes it his 23rd most-performed song as of June 2023. [4] The song has been covered by many different artists, including Nina Simone; Josephine Baker; the Byrds; the Seekers; Peter, Paul and Mary; Tracy Chapman; Simon & Garfunkel; Blackmore's Night; Runrig; the Beach Boys; Joan Baez; Phil Collins; Billy Joel; Bruce Springsteen; Me First and the Gimme Gimmes; Brandi Carlile; and Burl Ives. The song was ranked number 59 on Rolling Stone 's 2004 list of the "500 Greatest Songs of All Time". [5]
Dylan appears to have written the song in September and October 1963. He recorded it as a Witmark publishing demo at that time, a version that was later released on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991 . The song was then recorded at Columbia Studios in New York on October 23 and 24; [6] the latter session yielding the version that became the title song of Dylan's third album. [7] The a- in the song title is an archaic intensifying prefix, as in the British songs "A-Hunting We Will Go" and "Here We Come a-Wassailing", from the 18th and 19th century.
Dylan recalled writing the song as a deliberate attempt to create an anthem of change for the moment. In 1985, he told Cameron Crowe, "This was definitely a song with a purpose. It was influenced of course by the Irish and Scottish ballads ...'Come All Ye Bold Highway Men', 'Come All Ye Tender Hearted Maidens'. I wanted to write a big song, with short concise verses that piled up on each other in a hypnotic way. The civil rights movement and the folk music movement were pretty close for a while and allied together at that time." [8]
Dylan biographer Clinton Heylin describes how musician Tony Glover stopped by Dylan's apartment in September 1963, picked up a page of the song Dylan was working on, and read a line from it: "Come senators, congressmen, please heed the call." Turning to Dylan, Glover said, "What is this shit, man?" Dylan shrugged his shoulders and replied, "Well, you know, it seems to be what the people want to hear." [9]
Critic Michael Gray called it "the archetypal protest song." Gray commented, "Dylan's aim was to ride upon the unvoiced sentiment of a mass public—to give that inchoate sentiment an anthem and give its clamour an outlet. He succeeded, but the language of the song is nevertheless imprecisely and very generally directed." [7] Gray suggested that the song has been made obsolete by the very changes that it predicted and hence was politically out of date almost as soon as it was written.
Literary critic Christopher Ricks suggested that "the song transcends the political preoccupations of the time in which it was written". Ricks argued in 2003 that Dylan was still performing the song, and when he sang "Your sons and your daughters / Are beyond your command", he "sang inescapably with the accents not of a son, no longer perhaps primarily a parent, but with the attitude of a grandfather." Ricks concluded, "Once upon a time it may have been a matter of urging square people to accept the fact that their children were, you know, hippies. But the capacious urging could then come to mean that ex-hippie parents had better accept that their children look like becoming yuppies. And then Republicans..." [10]
Critic Andy Gill points out that the song's lyrics echo lines from the Book of Ecclesiastes, which Pete Seeger adapted to create his anthem "Turn, Turn, Turn!". The climactic line about the first later being last, likewise, is a direct scriptural reference to Mark 10:31: "But many that are first shall be last, and the last first." [11]
Less than a month after Dylan recorded the song, President Kennedy was assassinated on November 22, 1963. The next night, Dylan opened a concert with "The Times They Are a-Changin'"; he told biographer Anthony Scaduto, "I thought, 'Wow, how can I open with that song? I'll get rocks thrown at me.' But I had to sing it, my whole concert takes off from there. I know I had no understanding of anything. Something had just gone haywire in the country and they were applauding the song. And I couldn't understand why they were clapping, or why I wrote the song. I couldn't understand anything. For me, it was just insane." [12]
"The Times They Are a-Changin'" | |
---|---|
Song by the Byrds | |
from the album Turn! Turn! Turn! | |
Released | December 6, 1965 |
Recorded | September 1, 1965 |
Studio | Columbia, Hollywood, California |
Genre | Folk rock |
Length |
|
Label | Columbia |
Songwriter(s) | Bob Dylan |
Producer(s) | Terry Melcher |
"The Times They Are a-Changin'" was one of two Dylan covers that the Byrds included on their second album, Turn! Turn! Turn! , "Lay Down Your Weary Tune" being the other. [13] Like other Dylan compositions that the band had covered, such as "Mr. Tambourine Man" and "All I Really Want to Do", the song was intended to be the A-side of a single. It was sung by bandleader Jim McGuinn and prominently features his signature twelve-string Rickenbacker guitar. The song was often played at concerts surrounding its release. [14]
I remember the Beatles were in the studio for one of them (version of 'The Times They Are a-Changin'). That kinda put a lot of pressure on us.
— Roger McGuinn [15]
George Harrison and Paul McCartney of the Beatles attended the Byrds' recording of the song on September 1, 1965, at Columbia's studios on Sunset Boulevard. [16] Members of the Byrds' later reflected that the presence of the two Beatles prevented them from completing the track effectively. [15] [17] Columbia Records originally pressed thousands of cover sleeves for the intended single, but the Byrds' manager, Jim Dickson, asked for the release to be dropped because of the group's dissatisfaction, most vocally expressed by David Crosby; Dickson originally thought the song would have made a strong single. In a 2004 interview, Chris Hillman stated his dislike for the song, suggesting that "we shouldn't have bothered with that song". [15] [18] Another version of the song, recorded in June, is a bonus track on the 1996 reissue. "Turn! Turn! Turn!" ended up becoming the band's third single, reaching number 1 on the U.S. Billboard Hot 100 chart and number 26 on the UK Singles Chart. [19] [20]
The Byrds performed the song on the U.S. television program Hullabaloo, but it failed to make a long-term impact. [21] CBS England issued "The Times They Are a-Changin'" as the lead track of an EP, along with "Set You Free This Time", written by Gene Clark, which was moderately successful. [22] In addition to its appearance on the Byrds' second album, "The Times They Are a-Changin'" is included on several Byrds compilations, including The Byrds' Greatest Hits Volume II , The Very Best of The Byrds , The Byrds , The Essential Byrds , There Is a Season , and The Byrds Play Dylan . [23]
In January 1984, a young Steve Jobs recited the second verse of "The Times They Are a-Changin'" in his opening of the 1984 Apple shareholders meeting, where he famously unveiled the Macintosh computer for the first time. [24]
The "Dylan Covers Database" [25] listed 436 recordings, including bootlegs, of this song as of October 19, 2009. According to the same database, the song has been recorded in at least 14 other languages, such as Catalán, Czech, Dutch, Finnish, French, German, Hungarian, Italian, Japanese, Norwegian, Polish, Serbian, Spanish, and Swedish.
Hip hop group Public Enemy reference it in their 2007 Dylan tribute song "Long and Whining Road": "It's been a long and whining road, even though time keeps a-changin' / I'm a bring it all back home". [26]
In 2009, the filmmaker Michael Moore sang the third verse of the song live on The Jay Leno Show after being told that he had to "earn" a clip from his film Capitalism: A Love Story to be shown. [27]
On December 10, 2010, Dylan's hand-written lyrics of the song were sold at auction at Sotheby's, in New York, for $422,500. They were purchased by a hedge fund manager. [28]
The song is included in "The 500 Songs That Shaped Rock and Roll", a permanent exhibit at the Rock and Roll Hall of Fame. [29] [30]
Billy Bragg covered the song but altered the lyrics to make it a protest song dealing with the issues of 2017. Bragg sang lyrics such as "Accept it that soon you'll be drenched to the bone/For the climate is obviously changing," and "But the man in the White House says no one's to blame/For the times, they are a-changing back." [31]
A cover of the song by singer Susan Calloway was used in a commercial for the 2022 Stanley Cup Finals. The commercial featured an edited sequence of handoffs of the Stanley Cup between notable former Cup winning players with Calloway's version accompanying. [32]
Nitty Gritty Dirt Band covered the song in 2021 with guest vocals from Jason Isbell, Steve Earle, Rosanne Cash, and the War and Treaty, for their album Dirt Does Dylan. Proceeds from sales of their version were donated to Feeding America. [33]
The Byrds were an American rock band formed in Los Angeles, California, in 1964. The band underwent multiple lineup changes throughout its existence, with frontman Roger McGuinn remaining the sole consistent member. Although their time as one of the most popular groups in the world only lasted for a short period in the mid-1960s, the Byrds are considered by critics to be among the most influential rock acts of their era. Their signature blend of clear harmony singing and McGuinn's jangly 12-string Rickenbacker guitar was "absorbed into the vocabulary of rock" and has continued to be influential.
"Mr. Tambourine Man" is a song written by Bob Dylan, released as the first track of the acoustic side of his March 1965 album Bringing It All Back Home. The song's popularity led to Dylan recording it live many times, and it has been included in multiple compilation albums. It has been translated into other languages and has been used or referenced in television shows, films, and books.
"Chimes of Freedom" is a song written and performed by Bob Dylan and featured on his Tom Wilson produced 1964 album Another Side of Bob Dylan. The song depicts the thoughts and feelings of the singer and his companion as they shelter from a lightning storm under a doorway after sunset. The singer expresses his solidarity with the downtrodden and oppressed, believing that the thunder is tolling in sympathy for them.
"My Back Pages" is a song written by Bob Dylan and included on his 1964 album Another Side of Bob Dylan. It is stylistically similar to his earlier folk protest songs and features Dylan's voice with an acoustic guitar accompaniment. However, its lyrics—in particular the refrain "Ah, but I was so much older then/I'm younger than that now"—have been interpreted as a rejection of Dylan's earlier personal and political idealism, illustrating his growing disillusionment with the 1960s folk protest movement with which he was associated, and his desire to move in a new direction. Although Dylan wrote the song in 1964, he did not perform it live until 1988. However, during his 1978 tour, his band played a brief instrumental version of it as Dylan took the stage.
Younger Than Yesterday is the fourth studio album by the American rock band the Byrds and was released on February 6, 1967, on Columbia Records. It saw the band continuing to integrate elements of psychedelia and jazz into their music, a process they had begun on their previous album, Fifth Dimension. In addition, the album captured the band and record producer Gary Usher experimenting with new musical textures, including brass instruments, reverse tape effects and an electronic oscillator.
"Chestnut Mare" is a song by the American rock band the Byrds, written by Roger McGuinn and Jacques Levy during 1969 for a planned country rock musical named Gene Tryp. The musical was never staged and the song was instead released in September 1970 as part of the Byrds' (Untitled) album. It was later issued as a single, peaking at number 121 on the Billboard singles chart and number 19 on the UK Singles Chart.
Turn! Turn! Turn! is the second studio album by the American rock band the Byrds, released on December 6, 1965, by Columbia Records. Like its predecessor, Mr. Tambourine Man, the album epitomized the folk rock genre and continued the band's successful mix of vocal harmony and jangly twelve-string Rickenbacker guitar. The album's lead single and title track, "Turn! Turn! Turn!", which was adapted by Pete Seeger from text in the Book of Ecclesiastes, had previously been arranged in a chamber-folk style by the Byrd's lead guitarist Jim McGuinn for folk singer Judy Collins' third album, but the arrangement he used for the Byrds' recording of the song utilizes the same folk-rock style as the band's previous hit singles.
Fifth Dimension is the third album by the American rock band the Byrds and was released in July 1966 on Columbia Records. Most of the album was recorded following the February 1966 departure of the band's principal songwriter Gene Clark. In an attempt to compensate for Clark's absence, guitarists Jim McGuinn and David Crosby increased their songwriting output. In spite of this, the loss of Clark resulted in an album with four cover versions and an instrumental, which critics have described as "wildly uneven" and "awkward and scattered". However, it was the first Byrds album not to include any songs written by Bob Dylan, whose material had previously been a mainstay of the band's repertoire.
Dr. Byrds & Mr. Hyde is the seventh studio album by the American rock band the Byrds and was released in March 1969 on Columbia Records. The album was produced by Bob Johnston and saw the band juxtaposing country rock material with psychedelic rock, giving the album a stylistic split-personality that was alluded to in its title. It was the first album to feature the new band line-up of Clarence White (guitar), Gene Parsons (drums), John York (bass), and founding member Roger McGuinn (guitar). Dr. Byrds & Mr. Hyde is unique within the band's discography for being the only album on which McGuinn sings the lead vocal on every track.
The Byrds Play Dylan is the name of two different compilation albums by the American rock band the Byrds, one released in 1979 and the other issued in 2002. As their titles suggest, each compilation consists of interpretations of Bob Dylan penned songs, which the Byrds recorded at different stages of their career.
"Lay Lady Lay", sometimes rendered "Lay, Lady, Lay", is a song written by Bob Dylan and originally released in 1969 on his Nashville Skyline album. Like many of the tracks on the album, Dylan sings the song in a low croon, rather than in the high nasal singing style associated with his earlier recordings. The song has become a standard and has been covered by numerous bands and artists over the years.
"All I Really Want to Do" is a song written by Bob Dylan and featured on his Tom Wilson-produced 1964 album, Another Side of Bob Dylan. It is arguably one of the most popular songs that Dylan wrote in the period immediately after he abandoned topical songwriting. Within a year of its release on Another Side of Bob Dylan, it had also become one of Dylan's most familiar songs to pop and rock audiences, due to hit cover versions by Cher and the Byrds.
"It's All Over Now, Baby Blue" is a song written and performed by Bob Dylan and featured on his Bringing It All Back Home album, released on March 22, 1965, by Columbia Records. The song was recorded on January 15, 1965, with Dylan's acoustic guitar and harmonica and William E. Lee's bass guitar the only instrumentation. The lyrics were heavily influenced by Symbolist poetry and bid farewell to the titular "Baby Blue". There has been much speculation about the real life identity of "Baby Blue", with possibilities including Joan Baez, David Blue, Paul Clayton, Dylan's folk music audience, and even Dylan himself.
"You Ain't Goin' Nowhere" is a song written by American musician Bob Dylan in 1967 in Woodstock, New York, during the self-imposed exile from public appearances that followed his July 29, 1966 motorcycle accident. A recording of Dylan performing the song in September 1971 was released on the Bob Dylan's Greatest Hits Vol. II album in November of that year, marking the first official release of the song by its author. Earlier 1967 recordings of the song, performed by Dylan and the Band, were issued on the 1975 album The Basement Tapes and the 2014 album The Bootleg Series Vol. 11: The Basement Tapes Complete.
"The Bells of Rhymney" is a song by the folk singer Pete Seeger, which consists of Seeger's own music accompanying words written by the Welsh poet Idris Davies. Seeger first released a recording of the song on a live album in 1958, but it is the American folk rock band the Byrds' 1965 recording that is the best known version of the song.
Preflyte is a compilation album by the American folk rock band the Byrds and was released in July 1969 on Together Records. The album is a collection of demos recorded by the Byrds at World Pacific Studios in Los Angeles during late 1964, before the band had signed to Columbia Records and become famous. It includes early demo versions of the songs "Here Without You", "You Won't Have to Cry", "I Knew I'd Want You", and "Mr. Tambourine Man", all of which appeared in re-recorded form on the band's 1965 debut album.
The Byrds' Greatest Hits Volume II is the second greatest hits album by the American rock band the Byrds. It was released in the United Kingdom and Europe on October 29, 1971, by CBS Records as a follow-up to the band's first compilation album, The Byrds' Greatest Hits. The album appeared following the band's successful appearance at the Lincoln Folk Festival in England on July 24, 1971, and according to band biographer Johnny Rogan may have been issued by CBS as a reaction to the band's previous studio album, Byrdmaniax, having failed to chart in the UK.
"Why" is a song by the American rock band the Byrds, written by David Crosby and Jim McGuinn and first released as the B-side of the band's "Eight Miles High" single in March 1966. The song was re-recorded in December 1966 and released for a second time as part of the band's Younger Than Yesterday album.
"Lay Down Your Weary Tune" is a song written by Bob Dylan in 1963. Dylan originally recorded it for his album The Times They Are a-Changin', but his version of the song was not officially released until 1985 on the Biograph box set. In the album liner notes, Dylan claims that in the song he was trying to capture the feeling of a Scottish ballad he had just heard on a 78 rpm record. The specific ballad Dylan was referring to has not been identified, but speculation includes "The Water Is Wide", "O Waly, Waly" and "I Wish, I Wish".
"Farewell", also known as "Fare Thee Well", is a song by American singer-songwriter Bob Dylan. Dylan wrote the song in January 1963. He considered it for his third album, The Times They Are a-Changin', but only attempted a few takes during the album's first studio session. Dylan's earlier recordings of "Farewell" found their way onto various bootlegs, and a collection of demos that included the song was released in October 2010 as The Bootleg Series Vol. 9 – The Witmark Demos: 1962–1964.